Six artists investigate live matter in a pop-up at Poème

“Nothing is ever the same again. What comes back, comes back transformed“, is the Japanese phrase that invites you to immerse yourself The pulse of biology. Fractals Volume II, A pop-up was created in Poème on November 10, 11 and 12 which addressed the previous experience with the aim of displacing it. Cynthia Carlini, Marcela Ferrero, Luisa Freixas, Claudia Iturralde, and Angelis Jacobi In the first edition, they explored the echoes of infinity, and on this occasion – joined by Soledad Costantini – the six artists sought to recognize the living matter of that infinity.

Without the weight of the last name that links her to her art collector father and director mother, Soledad is responsible for Malba Literatura, She founded the publishing house El filo de Ariadna, in collaboration with Leandro Benkler, created the Buenos Aires International Literature Festival (FILBA) with Pablo Brown and is the director of the Writers Residency (REM) in Malba. For the first time, he displays his work to the public, which is a series of photographs Which flows with others who are displayed in society.

The four selected images It can be different angles for the same operation Costantini recognizes the many intense blues that evoke water, ice, and transparency. I made this out of an airplane – he points to one of the pieces – you can see the Himalayas, It was on a trip I took to Kathmandu. They are pictures upon pictures, layers of sky, of stones. It is a complete light installation, like a veil. The fluid that doesn’t stop. “This is how my images were born, searching for the questioner.”

Listen carefully Claudia Iturralde adds the concept of glass. “Working on the veil to explore and understand what the soul is saying and embodying it. Soledad has many images, for this opportunity we chose these four, with these blue colors that reflect a kind of melancholy and sadness involved.”

In these veils are traces of what his eyes see and imagine, to interrogate the boundary between the natural and the artificial. “His works remind us that every image is a form of veneration, says Sofia di Scalaphilosopher and artistic researcher, in the organizational text – an attempt to touch what cannot be perceived.

Throughout the exhibition, Iturralde—an art history graduate and lawyer—promotes the idea of ​​community, connecting with artists who work from this awareness of interconnectedness: “Each one paints, in her language, the breath of the world,” as Di Scala describes.

For Marcela Ferrero, nature and the four elements are the main focus of her inspiration. With an architectural background, “I graduated from UBA – she says with pride and the need to highlight where she belongs -. For family reasons, I left the country many years ago, first for London and then for Geneva. I have been lucky enough to expand beyond my place, to show my work in Berlin, Portugal, Geneva and Miami. My dream was to do it in Argentina – Ferrero admits -. Previously I had done it by participating in some small things, but last year Claudia invited me to the first edition of Fractals.” And again, I’m here with my engineering technician, which is where I feel most comfortable. In these works, my spiritual search is present, my search for perspective, my inner search, colors, gradations, mandalas. (Which functions as a confluence, expansion, center, and reception of the universe, the names she herself assigns to them and which refer to moments of personal contemplation). The four elements of nature, which have a lot to do with me, and I think are what unite us all in this exhibition.

One of the centerpieces in the room is a wooden canvas cut with a knife, superimposed on planes of different colours: blue, orange, violet and green. “Then they are stitched layer by layer,” Iturralde points out, showing off the well-marked stitches. “Like that footnote,” he says and looks at her Luisa Freixas Which she attacks with good humor: “I was taught to be a housewife.” instead of, “I’m a wood engraver and an explorer too.”

In the superimposed fabrics, fragmented landscapes appear that reference the forest, not as an exotic element but as a colorful visual memory, deposited in each composition, where Ubatuba, Brazil, comes to life in each woodcut. “He prints on cotton, collects stickers, intervenes in them, moves away from traditional woodcuts, and is a displacement,” Iturralde contributes.

Trained at the Royal College of Art in London, Cynthia Carlini works with video art, light and digital language. “Dig into the essence of time,” he says Sofia di Scala. The artist proposes an interpretation of Beckettian absurdity, where moments overlap, reflect and anticipate. In the midst of pause, repetition, resistance.

At the center of the scene is one of Iturralde’s sculptural works: the egg – there are actually three of them – which appears as both origin and totality, a container of suspended time. “If you look at it carefully, they are my three children in the pilupenko,” she says, and with this expression she embraces motherhood, care, the beginning of the world, a fragility that communicates with the large nutmeg placed in the corner, to represent the fragmented part, the medicine, the amulet.

“Nutmeg, along with cloves, was used as a medicine during the Black Death (the most devastating epidemic of humanity). In the times of the Inquisition, it was used to burn women at the stake. It was protection and it was condemnation“, it reflects and refers to the butterflies hanging in front of the pictures displayed on another wall. The butterfly effect, the echo, the chaos, the playful idea of ​​death.

turbulent, dynamic, Claudia Iturralde works with felt, a material she creates from wool, as if it were a living organism.. “The body is my tool,” he says. “Look, touch (separate some of the placed pieces to experience the sense of touch). I step, press, knead, stretch… I take the concept of felting from Mongolian culture. It is a research, almost a meditation, a process. My pad is atmospheric and colourful. Color seduces me, it challenges me. I do different researches, looking for the purest colors, some are made from natural dyes and others are made from synthetic dyes. “I’m still tainted.”

“Almost silently, but in constant and minimal movement,”“The Last Embrace,” the tapestry by Angelis Jacobi, unfolds before the audience, transforms, and overflows.. “He works with the secret of what has been undone,” stresses Di Scala in the text that can be read on one of the walls. “In his deconstructive movement there is a learning about life: nothing dies completely, everything comes back in another form.” The discarded balls of this hug remain at the foot of the installation.

“Everything is precise and concrete at the same time,” Costantini says. I feel that everything we do reflects the nature of our soul. Soul harmonization has always been my pursuit. I am a tireless seeker.” Soledad looks to her colleagues and celebrates the stringy embrace of El Pulse de Lo Vivo.